Skip to main content

Origins 2012 Panel Schedule

I had a fantastic time at CONduit and met a lot of fans, new and old, and sat on some very interesting panels. The publishing panel I was on was particularly enlightening, but it proved to me that no two people get into the world of publishing the same way. As many of you know, I'm doing many more panels at Origins this week, and I wanted to drop my schedule on you. The topics always lead to fascinating discussions and I hope to see plenty of you there.
Thursday:

1:00 PM: Publishing 101 - What’s hot and what’s not in fiction? Panelists look at publishing trends, predict where the market is going, dish out some publishing news and statistics, and offer suggestions on where to send your manuscripts.

Friday:

2:00 PM: The Digital Landscape - Take the do-it-yourself approach and publish your own fiction. The authors on this panel have done just that. They’ll talk about software, formatting, markets, and more.

4:00 PM: Write What You Don't Know - We remember English teachers lecturing: “Write what you know.” Well, we think you ought to write what you don’t know. How else can you write about space travel and alternate history and fire-breathing dragons and vampire detectives? We’ll discuss how a little research and common sense can give you just enough background to really write what you don’t know.

7:00 PM: Reading - Veteran wordsmith Bryan Young returns to Origins and vows to entertain you with one of his recent works. Settle back, put your feet up, and close out the night on a high literary note.

Saturday:

10:00 AM: Slaying Writer's Block - There’s debate whether there is such a beast as writer’s block. We’ll not argue that point here. Rather, we’ll show you what you can do to knock down the barriers that are keeping you from typing away at your keyboard. Writer’s block . . . or whatever you want to label it . . . we’ve faced it and beat it to a bloody pulp.

11:00 AM: Sex and Violence and Pen and Paper - How much sex and violence should you use in your fiction? There’s no secret formula . . . though in the romance genre there are a few requirements. Do you need sex and violence to sell your story? How can you tell if it overrides your plot? Our panelists discuss when to “keep it clean” and when to get down and dirty.

3:00 PM: Self-Publishing and Small Press - There are alternatives to the big New York houses. In fact, some writers are finding wild success by publishing their own manuscripts or taking them to the small press. We’ll look at the options out there and examine the pros and cons. Our panelists have been published by major houses, small press markets, and have listed stories on their own electronically.

Sunday:

1:00 PM: Publishing Potpourri - Maybe you missed a topic because of a Settlers of Catan game. Maybe you didn’t learn quite enough about query letters or available fantasy markets. In any event, we bet there are some questions you didn’t get answered in the other seminars. Bring your questions! We’re ready for them.

And if that's not enough, I'll be in the exhibition hall at my table in "The Library" answering questions and selling books the entire time. I hope to see you there!

Comments

Popular posts from this blog

Anatomy of a Scene - City Lights

We're going to break down another scene this week, and it's one of my favorites in cinema history. It comes from the ending of City Lights by Charlie Chaplin, which I think is the greatest romantic comedy ever made. 
It's a touching film from 1931 and I would make it mandatory viewing for anyone who wants to learn to tell a story.
The scene we're going to be breaking down comes from the very end of the film, so if you haven't seen it, I don't want to spoil it for you. Go watch the film. You can rent it for $3.99 in HD on Amazon or for free on Hulu with a free trial or plus subscription. You should just buy the Blu-ray, though. You're going to want to revisit it.
For those of you familiar with the movie, or for those of you who are going to ignore my pleas to watch it and go ahead with this post anyway, I'm going to set this clip up a bit before you watch it.
City Lights tells the story of Chaplin's Tramp and how he falls in love with a blind flower …

Anatomy of a Scene: The Third Man

It's time again to break down a classic scene. One that's well-written and, in my view, a fine example of excellent craft.

I've done some of these articles from books (like The End of the Affairand Starship Troopers) and other movies (like Citizen Kane, City Lights, Raiders of the Lost Ark, and Butch Cassidy and the Sundance Kid), but now it's time to take a look at a scene from The Third Man. It blends the best of Orson Welles (as he's in the film and drives this scene) and Graham Greene, who wrote this particular screenplay.

Before we get to the scene, we need some context.

The Third Man is a tale of the black market in Vienna, just after World War II. It's about a cheap, dime-store Western novelist named Holly Martins (played by Joseph Cotton) and his friend Harry Lime (Orson Welles.) Lime offered Martins a job in Vienna, so Martins leaves America and arrives, only to find that Harry Lime is dead. Penniless, without a friend or reason to be in the country, h…

Anatomy of a Scene: Butch Cassidy and the Sundance Kid

Butch Cassidy and the Sundance Kid might be one of the most meticulously well-written movies ever made.  William Goldman scripts are almost always something special. He's a master of creating something that's interesting, every scene has a kinetic energy to it that keeps you moving. He's a talented prose novelist as well. His novel of The Princess Bride might be even better than the screenplay and the film.

But today I want to talk about a scene in particular for Butch Cassidy and the Sundance Kid:



This scene comes early in the movie and we're still working to understand the relationship between Butch and Sundance, as well as Butch and his gang.

Goldman does something amazing as he's able to mix humor, character building, excitement, suspense, and an advancement of the story into the scene. There are so many building blocks at play here, and because the scene is so entertaining we hardly notice.

And the dialogue is so sharp I can't even stand it.

One of the mos…